Emotion Devices: The role of concrete frame structures in the architecture of Kazuo Shinohara

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Narrative Language as an Expression of Individual and Group Identity

Scientific Narrative Psychology integrates quantitative methodologies into the study of identity. Its methodology, Narrative Categorical Analysis, and its toolkit, NarrCat, were both originally developed by the Hungarian Narrative Psychology Group. NarrCat is for machine-made transformation of sentences in self-narratives into psychologically relevant, statistically processable narrative categories. The main body of this flexible and comprehensive system is formed by Psycho-Thematic modules, such as Agency, Evaluation, Emotion, Cognition, Spatiality, and Temporality. The Relational Modules include Social References, Semantic Role Labeling (SRL), and Negation. Certain elements can be combined into Hypermodules, such as Psychological Perspective and Spatio-Temporal Perspective, which allow for even more complex, higher level exploration of composite psychological processes. Using up-to-date developments of corpus linguistics and Natural Language Processing (NLP), a unique feature of NarrCat is its capacity of SRL. The structure of NarrCat, as well as the empirical results in group identity research, is discussed

Is Choreography Copyrightable?: A Study of the American and English Legal Interpretations of Drama

Dance, as well as music, may be reduced to writing. Movement may be recorded in Labanotation, which is a system of symbols by which the motion of each and every part of the human body, in its relationship to time and space, may be set down on paper. In 1952, Hanya Holm\u27s labanotated choreographic score for the musical play, Kiss Me, Kate, was accepted by the United States Copyright Office for registration with a claim of copyright. Choreographic works may also be recorded by notation, symbols and diagrams different from the Laban system, drawings or pictures, or by language or words

Connected parents: combining online and off-line parenthood in vlogs and blogs

This article explores evaluative discourse in a corpus sample of parents' vlogs (video blogs) and blogs (henceforth v/ blogs) dealing with family tasks and responsibilities, as a reflection of underlying values concerning parenthood. It pays special attention to the important role played by the expression of attitude, understood as "ways of feeling" and including the meanings of affect, judgement and appreciation, together with positive politeness in the social practices of the discursive construction of online and off-line parenthood. Analysis and description of the data show two main patterns in parents' practices, either aiming at perfection through juggling and multi-tasking or building resistance to the demands of families and society. Results show that parents frequently exploit the system of affect for building positive face and rapport, while indirectly expressing judgement of social esteem and social sanction, which construct their identities as mothers and fathers and those of the members of their communities of practice. The corpus for the study consists of a random sample of 400 evaluative units in posts and comments on v/ blogs dealing with family tasks and responsibilities (200 in English and 200 in Spanish, with half the sample being drawn from fathers' and the other half from mothers' v/ blogs). I will approach the analysis of the data from appraisal (Martin and White 2005, Bednarek 2008) and politeness theory (Brown and Levinson 1987) in order to explore the features of evaluative discourse and the management of face. The methodology for processing the data borrows quantitative techniques from Corpus Linguistics, including the coding and statistical treatment of the sample with UAM Corpus Tools (O'Donnell 2011), together with Pragmatics and Discourse Analysis (DA), as done in some previous research (Santamaría-García 2011, 2014).Project "EMO-FUNDETT: EMOtion and language at work", I+D FFI2013-47792-C2-1-P, sponsored by the Spanish Ministry of Science and Innovatio

ATTITUDE ANALYSIS OF “THE GUARDIAN” EDITORIAL: LOCKDOWN POLICY AND THE GOVERNMENT

This study aims to analyze the presented attitude based on the choice of words in an editorial published by The Guardian on November 5th, 2020 entitled “The Guardian View on the New Lockdown: Fewer Promises, Better Performance Needed”.  One of the most relevant discourses to be analyzed is editorial section of newspaper that is considered as the purest part of mass media reflected ideology, or in this case, political stance. This is a qualitative study using the method of Systemic Functional Language framework with the specification of interpersonal meaning especially appraisal analysis with 22 appraising items taken from the editorial as the sources of data. The findings show that The Guardian is more likely not standing on the same side as the government by giving more negative attitude than the positive ones in terms of affects, judgment, and appreciation. Getting involved in attitude analysis as a part of SFL is considered important in ELT process to help students use language appropriately started from small unit like word

Five forms of emotion : Kazuo Shinohara and the house as a work of art

This research presents the work of the Japanese architect Kazuo Shinohara (1925-2006) and studies five of his residential designs as epitome of his oeuvre. lts development is understood as a continuous quest to reconcile two key elements, the house and the city, in order to put emotional the heart of domestic space. These two elements were present in his preoccupations from the beginning of his career but he only managed to merge them in his last designs. lt is based on the assumption that this is one of the first in-depth research studies developed beyond the conventional segmentation and explanation of his work. lt thus considers it more important to open new perspectives on Shinohara's oeuvre than to foc us exclusively on one of them, a task that might be pursued later on. Analyzing sorne of Shinohara's first writings and using as a starting point his simultaneous design of two very different houses, House in White and House of Earth (1964-1966), this thesis delineates a connecting line among three more choice projects's panning 20 years of practice, thus shedding a new light on Shinohara's design methods and helping explain their unity behind their apparent dissimilarities: Tanikawa House (1972-1974), House in Uehara (1975-1976) and House in Yokohama (1982-1984). After a general description of Shinohara's relevance and main ideas on tradition, domesticity and the city, it continues with the argumentation of why a certain group of projects has been left out of this research and analyzes the five projects of this evolution, pointing out their common traits and their consistency with the general exploration about the house as a work of art started by Shinohara in 1964. Further original contributions of this thesis to the field of Shinohara's studies consist in the translation for the first time into English of a founding article, "The House is Art" (1961), and an abridged version of "Subjectivity of Residential Design" (1964), and the reproduction of a previously unpublished text by Shinohara, "A Discourse On Tokyo; From Tokyo, Via Kazuo Shinohara: An Objective" (1998). In a separate volume this thesis incorporates the original construction designs for the five houses, with English captions.Aquesta investigació presenta l’obra de l’arquitecte japonès Kazuo Shinohara (1925-2006) i n’estudia cinc dels seus dissenys residencials com epítom del seu treball. El seu desenvolupament s’entén com una recerca contínua que mira de conciliar dos elements clau, la casa i la ciutat, per tal de posar l’emoció al cor de l’espai domèstic. Aquests dos elements ja eren presents en les seves preocupacions des de l’inici de la seva carrera, però només va aconseguir fusionar-los en els seus últims dissenys. Es basa en la constatació que aquest és un dels primers estudis d’investigació en profunditat desenvolupats més enllà de la segmentació i explicació convencionals del seu treball. Per tant, considera que ara és més important obrir noves perspectives sobre l’obra de Shinohara que centrar-se exclusivament en un dels seus aspectes, una tasca que pot ser desenvolupada en el futur. Analitzant alguns dels primers escrits de Shinohara i utilitzant com a punt de partida el disseny simultani de dues cases molt diferents, la Casa en Blanc i la Casa de la Terra (1964-1966), aquesta tesi traça una línia de connexió entre tres altres projectes signifi cats, abarcant vint anys de pràctica, per tal de llançar una nova llum sobre els mètodes de disseny de Shinohara i ajudar a explicar la seva unitat darrere de les seves aparents diferències: la Casa Tanikawa (1972-1974), la Casa a Uehara (1975-1976) i la Casa a Yokohama (1982-1984). Després d’una descripció general de la rellevància de Shinohara i de les seves idees principals sobre la tradició, la domesticitat i la ciutat, continua amb l’argumentació de per què un determinat grup de projectes s’ha quedat fora d’aquesta investigació i l’anàlisi dels cinc projectes d’aquesta evolució, assenyalant els trets comuns i la seva coherència amb l’exploració general, iniciada per Shinohara el 1964, de la casa com una obra d’art. Altres contribucions originals d’aquesta tesi en el camp dels estudis de Shinohara consisteixen en la traducció per primera vegada en anglès d’un article fundacional, “La casa és art” (1961), i una versió abreujada de “Subjectivitat del disseny residencial” (1964), i la reproducció d’un text inèdit de Shinohara, “Un discurs sobre Tòquio; des de Tòquio, via Kazuo Shinohara: Un objectiu“ (1998). En un volum a part s’inclouen els projectes executius originals per a les cinc cases, amb traduccions en anglès de les principals llegendes

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles